ELWES & FOREVER

Check out my short column, online at Phoenix Magazine, about "The Princess Bride: An Inconceivable Evening with Cary Elwes"...

...tonight at Mesa Arts Center.

NOT QUITE SO ALTOGETHER OOKY

Opening this weekend:

The Addams Family 2--Wednesday, the emotionally reserved daughter, is the focus of this sequel to 2019's animated adaptation of the classic Charles Addams cartoons from The New Yorker. Her exuberant clan gets on her nerves, and she's especially full of woe when her ebullient dad Gomez insists that she go on a family road trip. So when she is told that she may not be biologically an Addams, she's willing to listen.

The whole gang, almost, piles into the spacious, splendidly Gothic camper; along with Chloe Grace Moretz as Wednesday, Gomez (Oscar Isaac), Morticia (Charlize Theron), Uncle Fester (Nick Kroll) and Puggsley (Javon Walton), as well as the faithful, ever-gloomy Lurch (co-director Conrad Vernon), the ever-handy Thing, the moplike Cousin It (Snoop Dogg) and leonine pet Kitty Kat are along for the ride. Only Grandmama (Bette Midler) stays at home, to keep an eye on things (and party). Episodic wackiness ensues, as the family gets involved with everything from child pageants to bikers, while pursued by the shifty rep (Wallace Shawn) of a mad scientist (Bill Hader).

It's an above-average CGI production, with plenty of slapstick chases, fine voice acting and a standard emotional template; Wednesday gradually learns what family she wants to be part of. But the plot runs counter to the usual Addams Family schtick.

The retro-rerun network MeTV recently began airing the original Addams Family series (1964-1966), and I've watched a few episodes for the first time in decades. The show holds up amusingly, and what makes it work, I think, is that the actors don't play spooky. They have a hearty, aggressive geniality that makes them lovable--and, in the case of Carolyn Jones as Morticia, sexy--as well as funny in their macabre context. Even Ted Cassidy's baleful Lurch doesn't exactly play spooky; he's just deeply apprehensive.

The old series bounced the family's antics off of conventional midcentury banality, with the liberating suggestion that people who embraced their eccentricities might just be happier. Addams Family 2 comes to a really bizarre, shape-shifting finale, with the Addams folk in the clutches of the Dr. Moreau-like crazy scientist, that overshadows their peculiarity. Even the kiddie pageant world seems weirder than these title characters. Maybe the exposure of our culture to a couple of decades of reality TV has made the Addams Family seem normal.

IVY BELEAGUER

For the large majority of us who didn’t especially want to go to an Ivy League or other prestigious school, or weren’t up to it academically, or couldn’t have afforded it if we were, Admission is a smooth and pleasant hour and a half. For those who did or were or could have, it might be painful, and compelling, too.

One of the more intriguing elements of this romantic comedy, directed by Paul Weitz, is the inside look it claims to give at the admissions process for Princeton University—the script, by Karen Croner, is based on a novel by Princeton faculty member Jean Hanff Korelitz. If your own college career was ever in the hands of a system this baroque and whimsically subjective, it might make watching this movie that much more maddening.

The heroine is Portia (Tina Fey) a veteran admissions officer who, like her colleagues, has long since become immune both to the plying and the outrage of Princeton aspirants and their families, and is ruthlessly able to stamp “DENY” on their dreams. She loves, or thinks she loves, the life she has with her nebbishy Prof boyfriend (Michael Sheen)—quiet, child-free nights in, reading poetry. She has to endure an occasional awkward visit with her disappointed Mom (Lily Tomlin), the author of an iconic feminist classic who expected more from her daughter than guarding the gate for the elite. Other than that, however, Portia’s life is comfortable.

But of course all this gets yanked away from her, and a wacky new life is dropped in its place. She meets John (Paul Rudd) the adorable head of a “progressive” school in rural New Hampshire, who introduces her to his most promising student, Jeremiah (Nat Wolff), a brilliant, sweet, slightly dizzy kid that John thinks belongs at Princeton. Then, when he gets Portia alone, John’s real agenda emerges: He tells her that Jeremiah is her biological son, given up for adoption when she was in college.

Instead of recusing herself, Portia starts trying to steer the process in Jeremiah’s favor. She also, it need hardly be said, finds herself falling for John, and bonding with his adopted Ugandan son Nelson (Travaris Spears), who likes her because, in contrast to the globe-trotting, do-gooding John, she’s “boring,” as he feels an adult ought to be.

This complicated, rather contrived story gives rise both to farcical and to poignant scenes, and the terrific cast gives them punch. Fey’s persona, with her declarative delivery and her self-conscious disinterest in sex, seems to generate a love-her-or-hate-her response in many people. I’m in the former category—she’s fine company here, and strikes some surprisingly heartfelt, touching notes.

Rudd gets to show less of his manic, squirrelly side here in this unambiguous good-guy role, but he’s appealing as always, as is Tomlin. Sheen is a riot as the sad-sack boyfriend; he looks like a melancholic teddy bear with Albert Einstein’s hair. There are good turns by Gloria Rueben, Wallace Shawn, Sonya Walger, Olek Krupa and others, but the real standout is the beguiling Wolff (son of actress Polly Draper) as the wide-eyed, fast-talking Jeremiah. Our investment in the story hinges on his likability—on him seeming, for all his intelligence, like a clueless boy.

Of course, you may find yourself hoping that Princeton doesn’t ruin him. A quiet ironic joke built into the fabric of Admission is what it says about the American sensibility in relation to prestige institutions—the tension between the belief that they’re often essentially meaningless and their unshakeable currency in the American culture of success.

On the one hand, the movie suggests that getting into Princeton is an arbitrary, even corrupt process. On the other, we’re expected to root for Jeremiah to get into the school anyway. We’re told he’d “thrive” there, and he may believe he will, but it’s mentioned several times that he’s an “autodidact,” so you may wonder how much, in purely educational terms, he needs with college at all. I suspect the real reason the grownups want him to get in is simply so that he can put the word “Princeton” on his resume for the rest of his life.